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Edition Güntersberg, February 2018 1

Günter von Zadow1

The Works for Viola da Gamba in the Ledenburg Collection

Summary The State Archive of Lower Saxony (Niedersächsisches Landesarchiv) located in Osnabrück (northern Germany) houses the “Ledenburg Collection,” a collection of music manuscripts and prints from the 18th century, which was not known among scholars until now. The main focus of the collection is music with viola da gamba. Most remarkable among its contents is an original print of the twelve fantasias for viola da gamba solo by Telemann from 1735, which was thought to have been lost. The collection also contains three hitherto unknown gamba sona-tas by C.F. Abel. In addition there are ten solo sonatas, five trios and four concer-ti with viola da gamba as the main instrument. The majority of these works are transcriptions of compositions for other instruments by G. Cervetto, P. Castrucci, J.B. Pla, G. Tartini, F. Schwindl and K. Gretsch. Stylistically the works can be assigned to the early Classical period. The collection might have developed from around 1750.

Amendments 24.02.2018 p.14 Editions updated p. 27 529.1 Hardeck edition added p. 33 733 Anonymous attributed to Abel, edition added

1 Günter von Zadow is the owner of the music publishing house Edition Güntersberg. The publisher is located in Heidelberg, Germany, was founded in 1999 by Günter and Leonore von Zadow, and publishes mainly literature for viola da gamba.


2 Edition Güntersberg, February 2018

Description

The Ledenburg Collection In the year 2000 numerous historical documents from the archive of the Leden-burg manor were transferred to the State Archive of Lower Saxony in Osnabrück. A small part of these documents in the section “Literature, sheet music, draw-ings” contains music from the 18th century. We refer to this part, which is distrib-uted over nine shelf numbers, as the “Ledenburg Collection.”

Table 1. Components of the Ledenburg Collection

Shelf no.2

Description Instruments3 Pages

480 „Graue,“ only Basso Secundo part B 25

523 Carlo Antonio Campioni (1720–1788), 6 duets V+Vc 26

524 Anonymous trio in C major V+VdG+Vc 16

525 Carl Heinrich Graun, L’Europa Galante ( Ber-lin, 1748), selection, only Violino Primo part

V 29

527 Collection, solo sonatas for viola da gamba by Giacobo Cervetto, Pietro Castrucci, Juan Bau-tista Pla, Giuseppe Tartini, Filippo Ruge, Carl Friedrich Abel, Anonymous

VdG+B 72

528 Georg Philipp Telemann, 12 Fantasias for Viola da Gamba solo

VdG 13

529 Collection, concertos and chamber music by Graf zu Hardeck, Friedrich Schwindl, Anton Milling, Konrad Gretsch, Bruchhausen, Anton Raetzel, Anonymous

mostly with VdG

89

622 Simple songs and dances, only bass part without text

B 75

733 Anonymous viola da gamba concerto, only solo part

VdG 7

The Ledenburg Collection comprises about 350 pages with 28 works in different sizes, counting the bass part of the songs and dances (no. 622) as one work. Most of them are manuscripts; only two works are printed.

The Works for Viola da Gamba Music for viola da gamba is strongly represented in the Ledenburg Collection, namely in 23 works. The collection therefore is of special interest for gambists. It extends the repertoire with important works which can be assigned to the early Classical period, with the exception of the fantasias by Telemann.

The viola da gamba works can be divided into four groups: one work for viola da gamba solo, thirteen sonatas for viola da gamba and bass, five trios for viola da

2 The complete shelf numbers are given in the “Catalogue” on page 16. 3 B=Basso, V=violin, VdG=viola da gamba, Vc=violoncello.



gamba, violin or flute and bass, and four concertos for viola da gamba and strings. The following table gives an overview.4

Table 2. The Works for Viola da Gamba in the Ledenburg Collection

Signa-ture

Description Concordance Origi-nal for

Solo 528 Telemann, 12 Fantasias VdG

Solos with Basso

527.1 Anonymous, Sonata in C major Fl

527.2 Anonymous, Sonata in D major G. Cervetto Vc

527.3 Anonymous, Sonata in G major G. Cervetto Vc

527.4 Anonymous, Sonata in B major G. Cervetto Vc

527.5 Anonymous, Sonata in G-Moll

527.6 Tartini, Sonata in B flat major

527.7 P. Castrucci, Sonata in G minor Fl

527.8 J. B. Pla, Sonata in B flat major J. B. Pla Fl

527.9 Anonymous, Sonata in G minor, fragment, can be reconstructed

Tartini V/Fl

527.10 Ruge, Sonata in G major

527.11 Abel, Sonata in G major VdG

527.12 Abel, Sonata in A major VdG

527.13 Abel, Sonata in B flat major VdG

Trios 524 Anonymous, Trio in C major [attributed to Abel]

529.2 Schwindl, Trio in A major Schwindl Fl

529.4 Gretsch, Trio in G minor

529.7 Anonymous, Trio in G major [attributed to Abel]

529.8 Anonymous, Trio B flat major, fragment, can be reconstructed

Abel/J. Stamitz5 V/Fl

Con-certos

529.1 Hardeck, Concerto in F major, fragment

529.3 Milling, Concerto in D minor, fragment, can be reconstructed

529.6 Raetzel, Concerto in A major, fragment, can be reconstructed

733 Anonymous, Concerto in A major, fragment

Ten works appear anonymously; but we could identify five of them (Cervetto (3), Tartini Sonata in G minor, Abel/Stamitz). In addition we could attribute two works to a known composer (Abel Trios in C major and G major). As a result, three works remain anonymous for now (Sonata in C major, Sonata in G major, Concerto in A major).

4 For details see the Catalogue on page 16. 5 For the Trio no. 528 we have both, one concordance to Carl Friedrich Abel and one to Johann Stamitz.



Six works are incomplete, but we can reconstruct two of these from other sources (Tartini Sonata in G minor, Abel/Stamitz). For two concertos the missing part can be reconstructed from the context (Milling, Raetzel). Therefore only two concertos remain incomplete for now (Hardeck, Concerto in A major); we can make all other 21 works available in editions for today’s players.

Among the works we find many transcriptions for viola da gamba. In the column “Original for” in the table above we indicate the original instrumentation of the viola da gamba part, if it is known.

For seven works we cou

With seven works an addition source enabled us to identify them. These are tran-scriptions, i.e. works which have originally been written for other instruments but are to be played in the Ledenburg version on viola da gamba. Other manuscripts are explicitly designated as transcriptions. Thus, we know that the viola da gam-ba part in six cases was originally written an octave higher for flute or violin (Anonymous Sonata in C major, Castrucci, Pla, Tartini Sonata in G minor, Schwindl, Abel/Stamitz), and that three of the viola da gamba sonatas were orig-inally written for violoncello (Cervetto). On the other hand we can be certain that of the remaining works at least four were written originally for viola da gamba (Telemann, Abel).

That such transcriptions were quite usual at that time, can also be seen in a re-mark by Charles Burney about his visit to the Nymphenburg castle in the year 1772: “After this the Elector [Maximilian III] played one of Schwindl’s trios on his Viol da gamba, charmingly: except Mr. Abel, I never heard so fine a player in that instrument; ...”6. The trio mentioned could very well be the Trio no. 529 of the Ledenburg collection.

6 Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces... Vol. 1 (London 1773) p. 139.

No. 527.6 Tartini, Sonata in B flat major for Viola da Gamba and Basso, page 1



No. 527.11 Abel, Sonata I in G major for Viola da Gamba and Basso, pages 1 and 2



The Composers Some dates of the composers of the works by viola da gamba are given in the fol-lowing table.

Table 3. Dates of the Composers in the Ledenburg Collection

Cate-gory

Composer Main work place Dates Date of work

1. Carl Friedrich Abel London 1723–1787

Georg Philipp Tele-mann

Hamburg 1681–1767 1735

2. Pietro Castrucci London 1679–1752

Giacobo Cervetto London 1681/1682–1783

ca. 1750

Johann Konrad Gretsch Regensburg ca. 1710–1778

Juan Bautista Pla Stuttgart ca. 1720– after 1773

Filippo Ruge Paris ca. 1725– after 1767

Friedrich Schwindl Germany, Nether-lands

1737–1768 ca. 1765

Johann Stamitz Mannheim 1717–1757 1764

Giuseppe Tartini Padua 1692–1770

3. Johann Carl (I.) Graf zu Hardeck (Hardegg)

Germany (Lower Saxony)

1703–1752

Anton Milling South Germany

Anton Raetzel North Germany ca. 1724– after 1760

We can divide the composers of the works for viola da gamba into three catego-ries:

1. Georg Philipp Telemann and Carl Friedrich Abel have undoubtedly writ-ten the four works in question for the viola da gamba. These composers are among the generally known composers for this instrument.

2. The second category consists of Pietro Castrucci, Giacobo Cervetto, Jo-hann Konrad Gretsch, Juan Bautista Pla, Filippo Ruge, Friedrich Schwindl, Guiseppe Tartini and Johann Stamitz. These composers, alt-hough familiar names, are not known until now to have written for the viola da gamba. In most cases we know or assume that the works in question have been transcribed for viola da gamba, however in this cate-gory there may still be original compositions for this instrument.

3. The third category consists of Johann Carl Graf (I.) zu Hardeck (Har-degg), Anton Milling and Anton Raetzel, who are largely unknown to-day. We have attempted to gather all available information about these persons, but our knowledge is still incomplete.

With the exception of the Fantasias by Telemann, which were published in 1735, the printed works which served as models for the Ledenburg copyists are from



the years 1750, 1764 and 1765. Outside the group of works for viola da gamba we find in the Ledenburg collection the Duets by Campioni, which were printed in 1765, and the copy of a single part of the opera by Graun which was per-formed first in 1748. The dates of death of the composers for viola da gamba lie between 1752 (Castrucci) and 1787 (Abel).

These dates, together with the stylistic attribution of the works to the early Clas-sical period, suggests to us that the Ledenburg collection was developed from the year 1750; the Telemann print of 1735 could also have been purchased later.

Here is some information about the composers in categories 2 and 3, who are probably unfamiliar among gambists.7

Pietro Castrucci Pietro Castrucci was born in 1679 in Rome and died in 1752 in Dublin. From 1715 he lived in London. He was a student of Corelli and an excellent violinist, who conducted Handel’s orchestra for 22 years. Numerous violin sonatas by him came down to us, of which are two are also playable on the viola d’amore.

Pietro Castrucci had a younger brother, Prospero Castrucci (1690–1760), who al-so could be the composer for the Sonata no. 527.7.

Giacobo Cervetto The cellist and composer Giacobo Cervetto (1681/1682–1783) was born in Vero-na and later went to London, where he gained a great reputation. He was one of a group of London-based Italians who popularized the violoncello as a solo in-strument in England. At the age of about 70 he began to publish several composi-tions for cello, which were quite successful and are still played today. He died at over one hundred years of age. Giacobo should not be mixed up with his son James (1748–1837), who was also a well-known cellist and composer in London.

Johann Konrad Gretsch Johann Konrad Gretsch (ca. 1710–1778) was a cellist and composer in Regens-burg, Germany. From 1770 he was employed there as violoncellist in the Hofkapelle Thurn und Taxis. He composed several works for cello.

Johann Carl Graf zu Hardeck Carl (I.) Graf zu Hardeck (Hardegg) (1703–1752) is little known. A certain “Giovanni Carlo Conte Hardeck” appeared in the year 1724 in Vienna as cellist at the opera performance of Euristo by Caldara. Hardeck was not known as a composer until now.

Anton Milling No biographical data of the composer Anton Milling are known. Two English horn concertos by him are preserved in the court library of prince Thurn und Tax-is in Regensburg, and in Kroměříž there are seven works for winds.

7 More information can be found in the prefaces of the Güntersberg editions of the Ledenburg Collection, see “Editions” on page 14.



Juan Bautista Pla The Spanish brothers Juan Bautista and José Pla were oboe players, who in the middle of the 18th century were famous for their art, their interaction, and their virtuosity not only in their home country but in all Europe. Juan Bautista Pla (ca. 1720 – after 1773) was employed at the court of Württemberg in Stuttgart for many years. Many works of both brothers for two oboes or flutes have come down to us, but there is just one solo sonata which is not identical with the Sona-ta no. 527.8.

Anton Raetzel Anton Raetzel (Retzel) was born in Braunschweig around 1724, became bas-soonist and composer and later Capellmeister in the service of the duke of Hol-stein in North Germany. He died after 1760. Several works by him are listed in the Breitkopf catalogues, among them are four cello concerts, which are all lost.8

Filippo Ruge Filippo Ruge was born in Rome about the year 1722. He became a flautist and at the age of 22 went to Paris, where he lived presumably until his death after 1767. Many of his works in different genres are preserved, and several of these are still popular today.

Friedrich Schwindl Friedrich Schwindl was born in Amsterdam in 1737 and died in 1786 in Karls-ruhe. He was an extremely well known and popular composer, who published among other things 28 symphonies, six operettas und over 50 chamber music works. He worked in many European cities.

Johann Stamitz Johann Stamitz (1717–1757), of Bohemian origin, is believed to be the founder of the Mannheim School. Numerous works bear witness to his creativity, includ-ing 69 Symphonies.

Giuseppe Tartini The Italian violin virtuoso Giuseppe Tartini (1692–1770) is extremely well known for his concertos and sonatas for violin. In contrast to the other composers in category 2 and 3 there is a relationship between Tartini and the viola da gam-ba: The Concerto per Viola con Quartetto e due Corni accompagn: da Giuseppe Tartini in D major has been thought of as a solo concerto for viola da gamba or violoncello.9 The attribution to viola da gamba however is controversial.10 Be-sides this concerto in D major there is also a concerto in A major which has the same difficulty with the solo instrument.

8 The Breitkopf Thematic Catalogue, The Six Parts and Sixteen Supplements 1762–1787, ed. Barry S. Brook (New York 1966), p. 6 (1762). 9 Tartini, Konzert für Viola da Gamba und Orchester D-Dur, ed. Thomas Fritzsch (Wiesbaden: Breitkopf & Härtel, 1986). 10 Bettina Hoffmann, Catalogo della musica solistica e cameristica per viola da gamba (Lucca, 2001) p. 168. Michael O’Loghlin, Frederick the Great and his Musicians – The Viola da Gamba Music of the Berlin School (Aldershot 2008) p. 112.



The Ranges

The range of each viola da gamba part in the Ledenburg Collection is displayed in the following survey. Each x represents a semitone.

Table 4. Range of each gamba part | | |1 1 11 1 1 1|2 2 22 2 2 2| A B|C D EF G A B|c d ef g a b|c d ef g a b|c d ef g a b| 1 1| | | | | 528 Telemann -------|--xxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxxx-------| 527.1 Anon Son C -------|------------|--xxxxxxxxxx|xxxxxxxxxxxx|x-----------| 527.2 Cervetto 1 -------|--xxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxxx-------| 527.3 Cervetto 2 -------|-------xxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|x-----------| 527.4 Cervetto 3 -------|-----xxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxx--------| 527.5 Anon Son g -------|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxx--------| 527.6 Tartini Son B flat|-------xxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 527.7 Castrucci Son ----|------------|xxxxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 527.8 Pla Son -------|------------|--xxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 527.9 Tartini Son g ----|------------|--xxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 1) 527.10 Ruge Son -------|------------|--xxxxxxxxxx|xxxxxxxxxxx-|------------| 527.11 Abel 1 -------|--xxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 527.12 Abel 2....-------|---------xxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxx--------| 527.13 Abel 3....-------|--xxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 524 Abel Trio C -------|------------|--xxxxxxxxxx|xxxxxxxxxxx-|------------| 529.2 Schwindl Trio ----|------------|-- xxxxxxxx|xxxxxxxxxxxx|xxx---------| 529.4 Gretsch Trio -----|------------|--xxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 529.7 Abel Trio G ------|------------|xxxxxxxxxxxx|xxxxxxxxxxxx|xxx---------| 529.8 AbelStamitz Trio -|------------|----xxxxxxxx|xxxxxxxxxxxx|xxx---------| 529.1 Hardeck Conc -----|----------xx|xxxxxxxxxxxx|xxxxxxxxxxx-|------------| 529.3 Milling Conc -----|---------xxx|xxxxxxxxxxxx|xxxxxxxxxxxx|x-----------| 529.6 Raetzel Conc -----|------------|---xxxxxxxxx|xxxxxxxxxx--|------------| 733 Anon Conc A -------|----bbbbbbbb|xxxxxxxxxxxx|xxxxxxxxxx--|------------| 2) for comparison Graun Concerto ---xxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxxx-------| CPEBach Solo D -------|-xxxxxxxxxxx|xxxxxxxxxxxx|xxxxxxxxxxxx|xxxxx-------| 1) incl. movement II and III from other source 2) b=bass in tutti parts

The normal range of the 6 string viola da gamba is fully utilised in the genuine works for gamba (Telemann fantasias and Abel sonatas) and in the works whose origin is the literature for violoncello (Cervetto).

The anonymous solo sonata in G minor also requires the range of the 6 string gamba. The range of the Tartini Sonata in B flat major suggests that it could orig-inally have been a violin sonata. We know that the sonatas by Castrucci, Pla, Tartini in G minor, Ruge and Anonymous in C major are originally written for flute or oboe, and this is confirmed by their range.

In the trios the part of the viola da gamba has the range of a flute or oboe (to be played an octave lower). We know at least that the gamba part of Schwindl and Abel/Stamitz was originally for flute or violin.

If the concertos for viola da gamba were originally written for another instru-ment, we can say this looking at the range: only the Raetzel Concerto could have been played on flute or oboe, those by Hardeck and Milling are too low. It is in-



teresting that the range of the viola da gamba part in all concertos is rather small; the Raetzel concerto has a range of less than two octaves.

The Fantasias by Telemann The original print of the twelve fantasias for viola da gamba solo by Georg Philipp Telemann is without doubt the most important discovery in the Leden-burg collection. The work was self-published by Telemann in the year 1735, and it was sold through a distribution network. Before the discovery of the Ledenburg Collection however, all copies were thought to be lost. Together with the solo Fantasias for flute and violin they belong to the most important instrumental solo works of Telemann.

Our Edition contains much information on the fantasias.11 Therefore we describe here only the original print.

The original print is a thin booklet in upright format of 21.8 x 28 cm with a sturdy cover. It contains 13 sheets: one title page and 12 pages of music. All sheets are printed on one side only, each containing one fantasia. The printed page is on the right. The paper is relatively thin.12 The original print shows no signs of usage, but there are erasures and tracings at some places.

The sheets 3, 5, 6, 7, 8, 9, 10, 11, 12 bear the watermark that is reproduced here (height 8.5 cm, width 5.0 cm).

The print space is offset from the centre, i.e. it starts on the left close to the stitched margin and leaves a broader margin at the right. For example in Fantasia 1: left margin 5 mm, right

margin 14 mm.

The original print of the music pages consists of three layers of two double sheets (sheets twice as large which are folded in the middle). Each layer thus consists of 8 pages, which contain 4 Fantasias. The outer double sheet holds Fantasias 1 and 4, the inner Fantasias 2 and 3, etc.

We know that every two weeks Telemann offered two fantasias, namely initially Fantasias 1 and 2, then 3 and 4 etc. This can be explained in that the print was done on single sheets which had a margin on the left of about 2 cm, that was folded up. These sheets could be distributed separately at first. Two such sheets could be later combined to form one double sheet, and the double sheets could then be bound together as described above.

The sheet containing the title page was added in front of the layers. There is no empty sheet that might belong to the title sheet after Fantasia 12.

When the booklet was given to the State Archive in 2000, only some parts of the original front cover existed. Thus the original print was restored and newly bound. During the restoration the sheets have been conserved chemically. The

11 Georg Philipp Telemann, Zwölf Fantasien für Viola da Gamba solo, ed. Thomas Fritzsch and Günter von Zadow (Heidelberg: Güntersberg, 2016). 12 On the photographs of the State Archive some music has occasionally printed through, e.g. on the title page. This music is from the sheet underneath and not from the back of the same sheet.



bookbinding process has not altered the original layers, but mainly added a new cover. During the restoration the leaves have not been cut back.

The Ledenburg Castle The place of discovery of the Ledenburg Collection is the Ledenburg Castle in the neighbourhood of Osnabrück in northwest Germany.13 Since 2000 the collec-tion has been housed as part of a deposit in the State Archive of Lower Saxony (Niedersächsisches Landesarchiv) lo-cated in Osnabrück. In the 18th century Ledenburg was the home of the fami-lies von Grothaus and later von Mün-ster. At the beginning of the previous century Walter Schwarze gathered much information about the castle and the family.14

Eleonore Elisabeth Helene Sophie von Grothaus was born in 1734 in the Ledenburg castle, where she also spent most of her childhood. She was a poet-ess, but she also had great interest in art, music and the sciences. Schwarze writes “Among the rhetorical arts ... music took the first place, and much handwritten music for piano, viola d’amour, flute and voice was in her repertoire, which was crowned by Han-del and Telemann. The newest arias could be heard, and Eleonore wrote many a poem in this format or following ex-isting melodies, and she expressed the impact of the music when she narrated how Orpheus sang:

Es neigten sich der Bäume Wipfel bei seiner Leier Harmonie. Selbst Leu und Bär verließ der Berge Gipfel, der Töne Zauber drang in sie.” 15

(The treetops bowed To the harmony of his lyre. Even the lion and the bear have departed the mountains As the magic of his music enchanted them.)

Eleonore von Münster was married in 1759 to Baron Georg Hermann Heinrich von Münster. She died 1794 in Hannover.

Except for the above-mentioned quote we found no information on the musical life in Ledenburg castle around 1750. Schwarze refers in his appendix to the fol-lowing volume in the library of Ledenburg as one of his sources “(Bd) 250 : Musikalien.” The Ledenburg library was in the 1920s partly moved to Derneburg and is now in the Gottfried Wilhelm Leibniz library in Hanover. In spite of inten-sive search in Hanover we were not able to find a volume with the number 250, or any other volume with musical contents.

13 Today mostly called „Gut Ledenburg“, Ledenburg manor. 14 Walter Schwarze, Eleonore von Münster (Osnabrück 1929). 15 Schwarze, ibid. p. 18.

Eleonore von Münster, Source: http://www.gogmsite.net/



The Ledenburg Collection has a clear emphasis on music for viola da gamba. This suggests that Walter Schwarze thought of the viola da gamba when he wrote about the “viola d’amour”. Music for viola d’amore does not exist in the collec-tion. It is appropriate that Schwarze refers to Telemann, because today, the fanta-sias by Telemann are considered the most important work of the collection. However we did not find anything important by Handel, whom he also mentions; there is just a bass part in the “simple songs and dances” (no. 622) of a small aria by Handel. Schwarze correctly reports that the music in the Ledenburg collection is mostly handwritten. However, we did not find a single work which is explicitly written for piano.

Conclusion The Ledenburg Collection could have been established by an aficionado of the viola da gamba, who gathered music for his or her own use, and who started do-ing this around 1750. As there were at this time almost no new original composi-tions for viola da gamba, except for works by Carl Friedrich Abel, he or she commissioned or bought transcriptions for viola da gamba of works from all over Europe. The selection shows a very good knowledge of music literature, and suf-ficient means. The transcribed works are well playable on the viola da gamba; the octave transposition is by no means detrimental to the harmony. The fantasias by Telemann were perhaps included in the collection as an important work of the past.

The works for viola da gamba in the Ledenburg collection are all written for one viola da gamba. Our person could thus have been a single gamba player who played together with other instrumentalists, but always played the main role, and knew the instrument quite well. The Ledenburg music copies lack bass figures, with a couple of exceptions.16 Because we know some of the original models we know however that such figures usually existed. Also, the collection has no ob-bligato harpsichord or piano part.

Many things suggest that the so called “aficionado of the viola da gamba” was Eleonore von Münster, however we did not find solid evidence for this. We have only the information in the book by Walter Schwarze (see above).

It is astonishing that the viola da gamba was played so intensively in north west-ern Germany around 1750. Until now it was thought that the composers of the Berlin School around the gamba virtuoso Ludwig Christian Hesse (1716–1772) were the last to deal with the viola da gamba.17 However we do not find in the Ledenburg Collection any of the viola da gamba works of Johann Gottlieb Graun, Christoph Schaffrath, Carl Philipp Emanuel Bach and the others. It is also apparent that the Ledenburg works in general impose fewer demands on the player than the gamba compositions by Johann Gottlieb Graun.

It is also astonishing that we found four concertos for viola da gamba and strings in the Ledenburg Collection which were until now completely unknown. It was thought that except for the gamba concertos by Telemann, J.G. Graun, Pfeiffer and Tartini nothing else existed in the genre. Apparently however, as well as the virtuoso concertos, there were others which could be mastered by amateur play-ers. We regret that none of these concertos has been preserved in its entirety.

16 In the transcription of the sonatas by Cervetto (no. 527.2–4) the original figures were partly retained. The Adagio by Tartini (no. 527.9) also has figures. 17 Besides Berlin we find Franz Xaver Hammer (1741–1817), Joseph Fiala (1748–1816) and Andreas Lidl (? – before 1789).



No. 733 Anonymous Concerto for Viola da Gamba in A major, page 2



Editions

Edition Güntersberg has published the 23 works for viola da gamba which are complete or can be reconstructed. This will be practical editions which are distributed in 15 volumes. Co-editors are Thomas Fritzsch and Günter von Zadow. In these editions the Ledenburg

Collection is identified by the logo given above. The graphic used in the logo is taken from a manuscript of the collection (no. 527.1)

The edition of the fantasias by Telemann also includes the complete facsimile of the original print. If the additional models contain bass figures these are trans-ferred to our edition. The 13 solo sonatas have an additional score with a realiza-tion. The missing parts in the concertos have been reconstructed by Wolfgang Kostujak.

Table 6. Editions of works in the Ledenburg Collection

Signature Composer, title Instruments Edition no.

528 Telemann, 12 Fantasias VdG G281

527.2 Cervetto, Sonata prima in D major VdG+B

G285 527.3 Cervetto, Sonata secunda in G major VdG+B

527.4 Cervetto, Sonata terza in B major VdG+B

527.6 Tartini, Sonata in B flat major VdG+B G283

527.9 Tartini, Sonata in G minor VdG+B

527.8 Pla, Sonata in B flat major VdG+B G289

527.1 Anonym, Sonata in C major VdG+B

527.10 Ruge, Sonata in G major VdG+B G284

527.5 Anonym, Sonata in G minor VdG+B

527.7 Castrucci, Sonata in G minor VdG+B G287

527.11 Abel, Sonata I in G major VdG+B

G282 527.12 Abel, Sonata II in A major VdG+B

527.13 Abel, Sonata III in B flat major VdG+B

524 Abel attributed, Trio in C major V+VdG+Vc G295

529.7 Abel attributed, Trio in G major V+VdG+B

529.2 Schwindl, Trio in A major VdG+V+B G293

529.4 Gretsch, Trio in G minor VdG+V+B G296

529.8 Abel/Stamitz, Trio in B flat major VdG+Fl/V+B G294

529.1 Hardeck, Concerto in F major VdG+2V+B G329

529.3 Milling, Concerto in D minor VdG+2V+Va+B G297

529.6 Raetzel, Concerto in A major VdG+2V+Va+B G298

733 Abel attributed, Concerto in A major VdG+2V+Va+B G328



Recordings

Several works of the Ledenburg-Collection have already been recorded on CD:

Georg Philipp Telemann, 12 Fantaisies pour la Basse de Violle Thomas Fritzsch –Viola da Gamba, 2016, Coviello Classics COV 91601. 528 Telemann, 12 Fantasias Carl Friedrich Abel, Ledenburg Thomas Fritzsch – Viola da Gamba, Michael Schönheit – Pianoforte, Eva Salo-nen – Violin, Katharina Holzhey – Violoncello, 2016, Coviello Classics COV 91608. 527.11 Abel, Sonata I in G major. 527.12 Abel, Sonata II A major. 527.13 A-bel, Sonata III B flat major. 524 Abel attributed, Trio C major. 529.7 Abel at-tributed, Trio G major. 529.8 Abel or Stamitz, Trio B flat major. Gamba Concertos Thomas Fritzsch – Viola da Gamba, Michael Schönheit – Pianoforte & Direc-tion, Merseburger Hofmusik, 2017, Coviello Classics COV 91710. 529.3 Milling, Concerto in D minor. 733 Anonym, Concerto in A major. 529.6 Raetzel, Concerto in A major. 529.1 Hardeck, Concerto in F major.

Acknowledgements The Ledenburg Collection was discovered by the French musicologist François-Pierre Goy. During his research in spring 2015 he came across hints of this viola da gamba music in an unusual place and immediately realized the importance of the fantasias by Telemann. He informed Peter Holman and Andrew Ashbee of the Viola da Gamba Society in Great Britain. They passed the information on to the German gambist Thomas Fritzsch, who then explored the collection system-atically together with me. We were very well supported by the staff of the State Archive of Lower Saxony in Osnabrück, especially by Isabelle Guerreau. We are also very glad that the current owners of the Ledenburg manor, Christiane and Hans Christoph Homan, allowed us to publish the material in modern editions.

I wish to thank all aforementioned for their support.

I also like to thank Michael O’Loghlin for his help with the English translation.

Günter von Zadow Heidelberg, February 2017



Catalogue This catalogue lists all works in the Ledenburg Collection for viola da gamba. The items are given in the order of the shelf numbers of the State Archive of Lower Saxony. To facilitate the overview the two collections no. 527 and no. 529 have been subdivided into subnumbers like 527.1.18

Each entry is structured the same way:

signature type manuscript or print, number of pages composer title work catalogue format score or separate parts description comment e.g. similarity with other works in this collection concordance also attributions, if applicable edition Güntersberg number

18 Our subdivision of the shelf numbers no. 524 and no. 529 will possibly be adopted by the State Archive in their catalogue.



524 Anonymous [attributed to Abel], Trio in C major, V+VdG+Vc signature D-OSa19 Dep 115b Akz. 2000/002 Nr. 524 type manuscript, 16 pages composer title Trio per violino viola da jamba e violoncello work catalogue Abel: A5:3A20 format separate parts description The viola da gamba part exists twice, in alto clef and in treble

clef. comment The anonymous Trio in G major, no. 529.7 is by the same hand. concordance none. The trio was attributed to Carl Friedrich Abel by Thomas

Fritzsch and Peter Holman on the basis of stylistic features. edition G295

19 Identification of the State Archive of Lower Saxony in Osnabrück (Niedersächsisches Landesarchiv – Standort Osnabrück) in RISM. 20 Peter Holman, Charles Frederick Abel’s Viola da Gamba Music: A New Catalogue, The Viola da Gamba Society Journal, vol. 8, 2014 or later versions. All A-numbers are from this work catalogue.



527 Sonatas for Viola da Gamba signature D-OSa Dep 115b Akz. 2000/002 Nr. 527 type manuscript, 72 pages, several copyists

The pages are numbered on one side. “5” = 5 recto, “5v” = 5 verso.

composer several, see below title no common title format bound book in the format of 31 x 24,3 cm with a solid cover description The collected volume contains 13 sonatas for viola da gamba

and basso by various composers. The instrumentation “Viola da Gamba and Basso” is only mentioned explicitly in four of the sonatas (Ruge and Abel). It can be assumed for the other sona-tas as well because of the consistent use of the alto clef for the solo part.

527.1 Anonymous, Sonata in C major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 1–3 (3v empty) type manuscript, 5 pages composer title e Flauto: Transp: (on page 1v) work catalogue format score description comment The sonata in B flat major by Pla, no. 527.8 is in the same hand. concordance edition G289

527.2 Anonymous [Giacobo Cervetto], Sonata prima in D major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 4–6 type manuscript, 5 pages composer title work catalogue Cervetto: op. 2.1 format score description comment The three sonatas by Cervetto, no. 527.2–527.4, are in the same

hand.



concordance RISM A/I C 1726 Giacobo Cervetto (1681/1682–1783), Twelve solos for a vio-loncello, with a thorough bass for the harpsicord, Sonata I, London ca. 1750

edition G285

527.3 Anonymous [Giacobo Cervetto], Sonata secunda in G major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 6v–9v (10 empty) type manuscript, 7 pages composer title [So]nata [secun]da work catalogue Cervetto: op. 2.2 format score description comment The three sonatas by Cervetto, no. 527.2–527.4, are in the same

hand. concordance RISM A/I C 1726

Giacobo Cervetto (1681/1682–1783), Twelve solos for a vio-loncello, with a thorough bass for the harpsicord, Sonata II, London ca. 1750

edition G285



527.4 Anonymous [Giacobo Cervetto], Sonata terza in B flat major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 10v–13 type manuscript, 6 pages composer title [Sona]ta [terz]a work catalogue Cervetto: op. 2.3 format score description comment The three sonatas by Cervetto, no. 527.2–527.4, are in the same

hand. concordance RISM A/I C 1726

Giacobo Cervetto (1681/1682–1783), Twelve solos for a vio-loncello, with a thorough bass for the harpsicord, Sonata III, London ca. 1750

edition G285

527.5 Anonymous, Sonata in G minor, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 13v–14v type manuscript, 3 pages composer title Sonata work catalogue format score description comment concordance edition G284



527.6 Tartini, Sonata in B flat major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 15–16v type manuscript, 4 pages composer del Sigr. Tartini [Giuseppe Tartini (1692–1770)] title Sonata Solo work catalogue Brainard: not included21 format score description comment concordance edition G283

527.7 Castrucci, Sonata in G minor, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 17–19v type manuscript, 6 pages composer del Signor Castrucci [Pietro Castrucci (1679–1752)] title Fl. trav. Solo work catalogue format score description comment It is also possible that the composer was Pietro’s brother Pros-

pero Castrucci (1690–1760). concordance edition G287

21 Paul Brainard, Die Violinsonaten Guiseppe Tartinis (Göttingen 1959).



527.8 Juan Bautista Pla, Sonata in B flat major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 20–22v (23 empty) type manuscript, 6 pages composer del: Sigr: Juanna Batta Pla: [Juan Bautista Pla (ca. 1720 – after

1773)] title e Flauto trav. Solo Transp work catalogue Dolcet: not included format score description comment concordance CH-BEb22 Mss.h.h.IV.182 (11)

Oboe Solo | et | Basso | Del. Sig: J: Batta Pla edition G289

527.9 Anonymous [Tartini], Adagio in G minor, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 23v–24 (24v emp-

ty) type manuscript, 2 pages composer title Adagio work catalogue Brainard g7 format score description fragment: Only this Adagio has survived in the Ledenburg Col-

lection. 22 Burgerbibliothek, Bern.



comment concordance The anonymous Adagio is the first movement of a sonata by

Giuseppe Tartini (1692–1770): 1. I-Pca23 1905 Nr. 58 Sonata a Violino è Basso Del Sige. Giuseppe Tartini 2. CH-BEb Mss.h.h.IV.182 (27) Flauto Solo et Basso Del Sig: Giuseppe Tartini title line on the first page of music: Flauto o Violino Solo et Basso For more concordances see Brainard.

edition G283

1) The incipits of the second and third movement have been taken from the Padua source.

527.10 Ruge, Sonata in G major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 25–28 (28v empty) type manuscript, 7 pages composer del Sigr: Ruge: [Filippo Ruge (ca. 1725 – after 1767)] title Viola di Gamba | Solo. et Basso (title page)

viola di Gamba Solo (first page of music) work catalogue format score description comment concordance edition G284

23 Biblioteca Antoniana con Archivo Musicale, Padua.



527.11 Abel, Sonata I in G major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 29–32 (32v empty) type manuscript, 7 pages composer Del Sigr: C: F: Abel. [Carl Friedrich Abel (1723–1787)] title Sonata I. | à | Viola da Gamba Solo. | e | Basso. work catalogue Abel: A2:52 format score description comment The three sonatas by Abel, no. 527.11–527.13 are in the same

hand. concordance edition G282

527.12 Abel, Sonata II in A major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 33–36 (36v–37v

empty) type manuscript, 7 pages composer Del Sigr: C: F: Abel. [Carl Friedrich Abel (1723–1787)] title Sonata II. | à | Viola da Gamba Solo. | e | Basso. work catalogue Abel: A2:53 format score description comment The three sonatas by Abel, no. 527.11–527.13 are in the same




527.13 Abel, Sonata III in B flat major, VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 527, p. 38–41 type manuscript, 7 pages composer Del Sigr C. F. Abel. [Carl Friedrich Abel (1723–1787)] title Sonata III. | à | Viola da Gamba Solo. | e | Basso. work catalogue Abel: A2:54 format score description comment The three sonatas by Abel, no. 527.11–527.13 are in the same




528 Telemann, Twelve Fantasias, VdG signature D-OSa Dep 115b Akz. 2000/002 Nr. 528 type print, 13 pages composer par | Telemann [Georg Philipp Telemann (1681–1767)] title FANTAISIES | pour | la | BASSE de VIOLLE, | faites | et

dediées | à Mr. Pierre Chaunell, | par | Telemann. work catalogue Telemann: TWV 40:26–37 format description comment The print was self-published by Telemann 1735 in Hamburg.

This is the only extant copy. concordance edition G281



529 Concertos and Chamber music with Viola da Gamba signature D-OSa Dep 115b Akz. 2000/002 Nr. 529 type manuscripts composer several, see below title no common title Format collective folder description The collective folder contains several single compositions

which are mostly grouped in small folders.

529.1 Hardeck (Hardegg), Concerto in F major, VdG+V1+V2+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Hardeck type manuscript, 7 pages composer Del Sigre Hardeck [presumably Johann Carl (I.), Graf zu Har-

deck (Hardegg) (02.09.1703–26.01.1752)] title CONCERTO | a | Viola di Gamba | Violino Primo | Violino

Secundo | et | Basso work catalogue format separate parts description fragment: The basso part is missing. comment concordance edition G329



529.2 Schwindl, Trio in A major, VdG+V+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Schwindl type manuscript, 11 pages composer Del: Sigr Schwindl [Friedrich Schwindl (1737–1786)] title Sonata | Viola da Gambo Primo | Violino Secondo | et | Basso work catalogue Schwindl: op. 3.4 format separate parts description comment concordance RISM A/I S 2570

Six Sonates a Deux Flutes & Basse Continue, Sonata IV. Am-sterdam ca. 1765

edition G293

529.3 Milling, Concerto in D minor, VdG+V1+V2+Va+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Milling type manuscript, 14 pages composer Del Sigre Milling [presumably Anton Milling] title CONCERTO | à 5 voc | Viola di Gamba | Violino Primo | Vio-

lino Secundo | Viola et | Basso work catalogue format separate parts description fragment: The viola part is missing comment Anton Milling’s biographical data are not known. concordance edition G297



529.4 Gretsch, Trio in G minor, VdG+V+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Gretsch type manuscript, 12 pages composer Del Sigre Gretsch [Johann Konrad Gretsch (ca. 1710–1778)] title TRIO | Viola da Gamba | Violino | Basso Continuo. work catalogue format separate parts description comment concordance edition G296



529.624 Raetzel (Retzel), Concerto in A major, VdG+V1+V2+Va+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Rætzel type manuscript, 17 pages composer Del Sigre Rætzel [possibly Anton Raetzel (Retzel, Rætzel, Rät-

zel) (ca. 1724 – after 1760) title CONCERTO | a 5 voc | Viola di Gamba | Violino Primo | Vio-

lino Secundo | et | Basso [In the title “Viola” is missing.] work catalogue format separate parts description fragment: the part of the Violino Secundo is missing. comment concordance edition G298

24 The signature number 529.5 is missing on purpose. It belongs to the fragment of a quartet by „Bruchhausen“ without viola da gamba.



529.7 Anonymous [attributed to Abel], Trio in G major, V+VdG+B signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Anonymes

Trio type manuscript, 12 pages composer title Trio per violino – viola da Gamba é Basso work catalogue Abel: A5:4A format separate parts description comment The anonymous Trio in G major, no. 524 is in the same hand. concordance none. The trio was attributed to Carl Friedrich Abel by Thomas

Fritzsch and Peter Holman on the basis of stylistic features. edition G295



529.8 Anonymous [Abel or Johann Stamitz], part in B flat major, VdG+? signature D-OSa Dep 115b Akz. 2000/002 Nr. 529, Mappe Viola da

Gambo type manuscript, 4 pages composer title Viola da Gambo (part name) work catalogue Abel: A5:5A, WKO 110d25 format separate part description fragment: Only the viola da gamba part exists. comment concordance The anonymous part is the first part of a trio which is either by

Carl Friedrich Abel (1723–1787) or by Johann Stamitz (1717–1757): 1. S-Uu26 Instr. mus. i hs. 11b No 4 | Trio | Traverso Primo | Traverso Secondo | Basso | dell Sigr. Abell 2. F-Pn27 VM 17 1021, 4th trio print Paris 1764, SIX | SONATES | EN | TRIO | Pour une Flúte, un Violon et Basse. Oeuvre Posthume | DE STAMITZ. Only the first part exists.

edition G294

1) The second and third parts are taken from the Uppsala source (Abel).

25 Walter Knape, Bibliographisch-thematisches Verzeichnis der Kompositionen von Karl Friedrich Abel (Cuxhaven 1971). 26 Uppsala Universitetsbibliotek. 27 Bibliotèque nationale de France, Paris.



733 Anonymous [attributed to Abel], Concerto A-Dur, VdG+? signature D-OSa Dep 115b Akz. 2000/002 Nr. 733 type manuscript, 7 pages composer title Viola de Gamba (title page) Concerto Violo de Gambo (first page of music) work catalogue Abel: A9:1A format separate part description fragment: only the viola da gamba solo part exists. comment The solo part includes the bass during the tutti passages. concordance none. The concerto was attributed to Carl Friedrich Abel by

Thomas Fritzsch and Peter Holman on the basis of stylistic fea-tures.

edition G328

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